John Williams War Of The Worlds Music From The Motion Cd New

Descripción

TEMAS:
Prologue 2:52
The Ferry Scene 5:49
Reaching The Country 3:24
The Intersection Scene 4:13
Ray And Rachel 2:41
Escape From The City 3:49
Probing The Basement 4:12
Refugee Status 3:50
The Attack On The Car 2:44
The Separation Of The Family 2:36
The Confrontation With Ogilvy 4:34
The Return To Boston 4:29
Escape From The Basket 9:20
The Reunion 3:16
Epilogue 3:11



Opiniones editoriales
The motion picture event of the summer stars Tom Cruise, is directed by Steven Spielberg and features music by John Williams. The movie opens the day after this soundtrack is released and John Williams is probably the most well-known film music composer ever (and certainly Spielberg's favorite), responsible for the soundtracks to Star Wars, Jaws, E.T, Harry Potter, Schindler's List and more. Decca. 2005.
John Williams continues his longtime collaboration with Steven Spielberg in this adaptation of the H.G. Wells novel of the same name (previously filmed in 1953). Considering that the movie depicts a gigantic Martian invasion, you'd think Williams would have fully gone into his familiar bombastic mode, but he's refrained from doing so. While the composer makes full use of the outsize orchestra at his disposal, he prefers juxtaposing layers and building atmosphere rather than hitting you over the head with dramatic arias. "The Intersection Scene," for instance, begins slowly and minimally, then progressively builds into an ominous pounding; Williams then inserts spooky, otherworldly banshee-like effects that escalate into a frenzied pitch before abruptly disappearing as the track begins its descent back towards calm. The sound is genuinely scary and could lead to a spike in blood pressure among impressionable listeners without the help of visuals. "Probing the Basement" is another example of Williams masterfully building anxiety. War of the Worlds culminates with "Escape from the Basket," in which Williams methodically builds tension over close to ten minutes. And refreshingly, even when the action picks up, he mostly avoids the clichéd thundering timpani that often plague this type of score. --Elisabeth Vincentelli

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